It's been a bit, hasn't it? I just remembered you and the realization that I hadn't written in so long sent me into a tailspin of guilt. Granted, we've had a lot going on (more on that here). And don't think I haven't been writing. I have.

Oh, how I've been writing.

When last I corresponded, I was in the middle of the second draft of Phileas Reid. I'm still in the second draft of Phileas Reid. I've taken a small break from Phileas to write a web series. It's a story I had three years ago (or longer, depending on when you're reading this) back in the spring of 2010, but I've sat on it till now.

It's called Illumination, Inc. and the reason I've sat on this sci-fi rom-com for so long is that I've had a hard time figuring it out. The story hasn't changed, but I've had a hard time figuring out how to tell it. The original thought and outline for the story was as a feature-length film. But not having the money to bring that film into fruition kept me from committing too much time to writing it. So I flirted with turning into a novel or a graphic novel but neither really seemed to suit it.

Illumination, Inc. is and was always a cinematic story idea. So when I heard that Point of View Pictures, the production company run by my long-time partner-in-crime Tom Goddard, was gearing up to produce a web series this summer, inspiration struck. I called up Tommy and pitched him Illumination, Inc. He loved it, which meant I had to write it.

Knowing that you're writing for a production that doesn't have a budget, you really need an idea that's bigger than the story you're telling. That's the key element in all my favorite independent films. The writer/director finds a big idea and then uses a small story to explore that idea. The big idea overshadows the small story and makes the entire production seem grander. For great examples of this, check out Pi, Primer, Reservoir Dogs and District 9. Another way to distract from your small budget and small production is to fill your production with talent. See also: Garden State and Dr. Horrible's Sing-Along Blog.

At the heart of Illumination, Inc. is the idea of being able to control your dreams and live out whatever fantasies you have. You couple that with the romantic idea of finding the person of your dreams and you have the basic foundation of the web series.

Illumination, Inc. will be a seven episode web series that will be filmed locally (in and around Chattanooga, Tennessee) this summer (2013). Post production is scheduled to begin in August with a tentative release scheduled for this fall.

You can check out the website for it here, like it on Facebook here, and follow my (hopefully) more regular writing updates here.

I'm reading the first draft and boy, is it rough. There's the occasional passage or paragraph that makes me smile with pride, but most of these sentences are making my shudder. I still like the story and I try to remind myself of that: This story is good. It just needs to be told better. The reader deserves that. And I need to be able to sleep at night, knowing I've crafted the best book I could and that it's not out there, embarrassing me.

I was in my house. It was one of those situations where you've never been in the building before, but you intrinsically know that it's your home. I was all alone, wandering the empty halls and rooms looking for something. In the nursery, I found a chest. In the chest were old yearbooks, photographs, and the thing I had been looking for: A beat-up notebook.

I began flipping through the notebook. It was filled with old and abandoned ideas. There were story outlines, character descriptions, and questions that had once meant something to me but now I couldn't remember what they were connected to. Exploring the notebook filled me with an intense melancholy. There was so much unfulfilled potential.

Then, as if alive, the pages began pulling away from me. They ripped themselves out of the book. They began flying around the room. As they flew, they filled the room. It was an avalanche of ink-filled paper. I tried to crawl to the door, but the ideas couldn't sustain my weight. I began to sink. I tried to swim, but to no avail.

I woke up, sweaty and clammy. My fever was broken and a deep, disturbing chill was clinging to my chest.

As I begin the second draft of Phileas Reid Knows We're Not Alone, I want to get the ball rolling on the next step, which is publication. The dream, of course, is to be able to walk into any given book store and find copies of this adventure in the young adult section -- which means I'm preparing myself for a lot of rejection letters from a lot of major publishing companies.But I want them to understand what they'll be saying "no" to, should they -- when they -- opt to say "no." I want to put together a mock book for them. I'll send the manuscript in several formats for their own ease of reading, but I also want to send them the most complete idea of what the book could and can be. I also want to edit together a teaser trailer/pitch for them to watch, using all this same art. I want it to be hard for them to say "no, thanks."Which brings me to the subject line of this post: I need an artist. You don't need to have any kind of professional experience. This is going to be my first book, it could be your first book too. I'm looking for strong character and graphic design.Because, ultimately, everyone might say "no" to this book. But I believe in it. I believe in the characters and I believe in the story. While still a bit rough, I think it's great. So if the publishers don't want it, we're going to Kickstart or Indiegogo or fundraise it ourselves and publish and sell it ourselves. And if that's what happens, we'll already have the cover art.So if you're interested, or know someone you think might be interested, please pass this blog post on. You, or they, can contact me at tsfog@gmail.com. We'll discuss terms, rates, and swap ideas to find out if this is the right project for us.Thanks!

Stop looking at me like that. I haven't been ignoring -- well, okay, actually, that's a lie. I have been avoiding you, but it's been for a good cause. I've just completed the first draft of what will hopefully be the first of many adventures of Phileas Reid. It started like this:

And ended like this:

I've had a great many distractions, but I've finally completed the first draft. It only took me seven months. I feel like I should have been able to write it faster, I may have even gone an entire month without writing anything at all, so distracted and exhausted was I from the link above. But it's done. Not completely not at all, but it's done.

I'm going to give myself a week or so before I sit down and read the entire thing start to finish. I need to find all of its weaknesses and bludgeon them into perfection. To accomplish this, I need to be more subjective. I already know there's far too many "he said" and "she said." But I want to be able to see what plot points don't work or what story elements need to be strengthened or what characters I completely forgot to give a satisfactory ending to. Not only am I giving myself a week before reviewing it, I've sent it to a few near, dear, and trusted friends who will not think twice in crushing my spirit with their merciless reviews.

Then . . . then it's off to the publishers and my dreams will be in the hands of English majors.

I'm not sure if I like pretending these are from someone who can't remember how the script really went, or if these are from some abandoned first draft of these now-famous scripts. The first one (from Apocalypse Now) came from Stop Podcasting Yourself. The rest (and future ones) are mine.

Everything I write has a soundtrack. I find music that matches the tone of what I'm writing and create a playlist that I'll listen to as I write. It's not something I stick to fanatically, if I'm in the mood to listen to Henry Jackman's score for X-Men: First Class, then I listen to Henry Jackman's score for X-Men: First Class.

But sometimes I need something to remind me why I'm writing what I'm writing. Or I need something to remind me of what tone I'm trying to strike with this story. When I'm writing about the kids on Oasis, I listen to the music of Michael Giacchino and Ramin Djawadi. When I'm writing the adventures of Doctor Phileas Reid, the playlist is almost exclusively Alan Silvestri and Murray Gold.

Sony has just announced that they are releasing Sam Raimi's Spider-Man trilogy on Blu-Ray. Never mind they've already released it on Blu-Ray. This set comes with new special features never before seen on Blu-Ray! And "hey, I just bought PhotoShop, I wonder what I can do with it" cover art.

First, the original DVD art for the trilogy:

Say what you will about these movies (I enjoy them all but love the first two), this is some great cover art. Simple, stylized, iconic, and compelling. They make you want to pick them up, turn them over, and find out more about this red and blue tight-wearing superhero. What does Sony choose over these for their "new and improved" Blu-Ray release?

What the what?

Who signed off on these? It's as if Sony is trying to retroactively make everyone hate Sam Raimi's trilogy.

I've become increasingly perplexed by America's curious relationship with the concept of freedom. We believe we are absolutely entitled to it and that no-one can take it away and to even suggest we forfeit certain privileges is a violation of our constitutional rights. We've become so far removed from the events that created and sculpted the Constitution (not to mention the Bill of Rights) that we've forgotten the colossal sacrifices previous generations have had to make.

"Sacrifice" is another word that seems to have been co-opted by a specific group of people. "Sacrifice," especially when it relates to "freedom" now only applies to the men and women in our military. I in no way want to downplay the significant role the military has played in securing not only our freedom but the freedom of others around in the world. What men and women in the military (along with their families) have sacrificed these 300 years is incalculable. I recognize that and am humbled by it. But what of the civilian sacrifices? What about the men and women who have lived in this country who have had to sacrifice certain freedoms for the greater good of society? What about the minority groups who have had to live in the shadow of the majority, hoping to one day have the equal rights the majority of Americans enjoy? What about the sacrifices activists have had to make to ascertain equal liberty for all American citizens?

A sense of entitlement is infecting America. The sense of entitlement isn't specific to one party or one group of people. Everyone feels entitled to something. What's disturbing about the "entitlement" phase of our relationship to freedom is that it negates any sacrifice I might have to make but demands the sacrifice of others. Why do we feel so entitled? What have we done to earn or deserve this freedom? And if the majority are entitled to these freedoms, why isn't the minority entitled to such freedom?

You religion. Your guns. Your right to an abortion. Your right to marry whoever you choose. Your health. Your privacy. Your education. Your right to speak your mind. Your job. The money you earn. Your home. Your comfort. A trial with a jury made up of your peers in which you are innocent until proven guilty. The safety net of welfare.

I've been struggling to find my narrative voice. I never had a creative writing teacher that challenged me (except the exceptional Dr Byrd) and so I've had to find my own voice and my own style when it comes to my writing. It seems like such a natural, why-should-anyone-have-to-worry-about-that sort of thing.

For the last ten years, I've cultivated my "screenwriter" voice, a voice that speaks to directors, producers, and actors. It tells everyone involved in the filmmaking process exactly what they need to know, painting a vivid picture of the scene, explaining why and how it's happening, but ultimately leaves the specifics up for interpretation. For a screenplay, that's fine. For a screenplay, that's great. But I like prose that's vivid. I like words that come alive and transport you somewhere as they paint intricate scenes, characters, and locations. While books are a medium for the imagination, I crave specificity.

Which is why I've been struggling with the opening chapters of Oasis (its working title). The words aren't connecting. Everything feels clunky and everything sounds like I'm trying so hard -- which is, quite frankly, something new for me. Writing is easy. It's exciting. It's relaxing. It's freeing. It's not hard work.

Kelly kept telling me to relax and stop thinking about it. "That's when you write your best stuff," she said, "when you just have fun with it." But I couldn't. I couldn't have fun with it. I wrestled with every sentence, despite the fact that the story I'm telling is a fairly light one, filled with drama and childhood trauma, sure, but I want to veer more into adventure than horror.

Then I figured it out. I needed to let my characters tell the story. Specifically, I needed to let Benjamin Blakeney, the eyes and ears of the story, tell the story. He needed to use his own words. Switching from third person to first person was a game-changing decision that has made all the difference in the world. Now the scenes and the dialogue just flow from my finger tips, as usually do.

I'm not ignoring you, I just haven't had much to report. I've been spinning my wheels with very little traction to be found. I've had a couple of projects fail to get off the ground and I've found myself in the kind of gloom only John Cusack in High Fidelity can rescue me from.

But I've started writing again. I've often flirted with this idea that I call "Oasis" and I've just decided to sit down and make a young adult novel out of it. If you follow me on Twitter (@ScottishFogg), I've been posting word count updates at the conclusion of every night. It's my way of boring my followers and keeping myself honest. If I have to report progress (or the lack of) on a nightly basis, I find myself compelled to write. I hate not updating the word count but I hate updating the word count with a nearly insignificant increase even more. And while I have ideas every day, sometimes I don't. But I still need to be writing and there days when writing is just putting one word in front of another until you stumble on another great idea. Drafting will, hopefully, fix those boring bits.

I've also been approached about acting in the upcoming web series The Scent of Lavender. It's a bit of a murder mystery -- which is outside the realm of entertainment I usually find myself in so I'm excited. I'm also excited to be acting again, without worrying about the script or directing or editing or . . . anything else really. I've been working on some promotional art for the series and I'm an administrator for the series' Facebook page, but that is such a light load when compared to all the other hats I usually wear when I'm involved in a project.

Anyway. I'm off. I'll try to not let so much time go by between now and my next post.

A day doesn’t go by where I don’t write something. Usually it’s part of some bigger plan (a web series, a graphic novel, a feature film) and usually it ends up being discarded or forgotten about. Most of the things I’ve written are now collected cyber dust on my hard drive.

But every once in a while, I get to be part of something special. Enter Tanya Musgrave. She came to me a little over a year ago with a short story that she wanted to adapt into a short film. We went back and forth and I wrote three or four drafts of the script before she put the final touches on it and put it into production. I feel a little strange saying that it’s a gorgeous, wonderful film in every way possible — but it is. I'm not saying that because I helped write it, I'm not saying that because I know the original story it came from and I'm not saying that because I dearly love every one on the crew. I'm saying that somehow that crew and those actors were able to take my rough words and inappropriate jokes and turn it into this:

Check it out and make note of all those cast and crew members at the end. They’re names everyone’s going to be talking about in a few years.

I remember the first time I told my mom I had bought a graphic novel. She didn't hear the term "graphic novel" as a singular noun. She instead heard the adjective graphic being applied to the noun novel. She got real pale and asked what the content of the book was and, "do you . . . you know . . . have any questions?"

After assuring her that the novel was not actually graphic, it was just filled with graphics, she calmed down a bit and then muttered, "they need to call it something else."

I love the graphic novel. I love comic books in general, but the graphic novel specifically speaks to me. As I get older, I find myself slowly growing away from the tights and the fights of superheroes and find myself gravitating towards the quiet introspection of graphic novels. I didn't understand the appeal of cozying up to a book until I discovered books like Craig Thompson's Blankets (or his Habibi, for that matter).

I can read a graphic novel as quickly or as slowly as I want. I can speed through the sparsely-worded pages and claim (too proudly) that "I read an entire book in an afternoon," or I can take my time and let the words and art work in tandem to take me places I've never been before and give me ideas I've never pondered before.

I have received so much from the time I've spent with my comic books and graphic novels that I have decided that it's time I give something back. It's time for me to write my comic book -- or my graphic novel.

There is, however, a problem. Two problems, actually.

I cannot draw.

I do not know how to write a comic book script.

Problem 1 is more insurmountable than 2. Problem 2 can be fixed by applying what I know about writing a film script with what I will learn from reading a few books. Problem 1, though, requires finding someone that (A) I like (B) I get along with (C) I trust (D) trusts me (E) is willing to take this leap of faith with me.

So I'm going to get to reading and writing and . . . seeing to Problem 1.

I'm trying not to write tonight. It's Sabbath. But when my mind's a whirl (as it is now), it's hard for me to do anything but. There can be no rest. There can be no relaxation. There can be no idle hands. Because try as I might to push the fear far from mind, I can't help but fret that an idea that's not written down is an idea that's bound to be forgotten -- and I don't subscribe to my wife's notion that "if I forget it, then it wasn't worth remembering." I am convinced I have lost entire Dickensian novels for lack of a piece of paper.

It's the holidays. Tomorrow is the last holiday of 2011 (and the last day of the entire year, for that matter). It's been a bittersweet holiday season (much like most of 2011, for that matter). My grandmother moved into assisted living last month and we went and visited her in San Antonio the week before Christmas. As surreal as it was to see her so small and frail, I really hope to have what she has. She has lived a long and rich life and has created for herself a large, warm, and caring family. I don't know how she views her life, but I do know that she thanks God for it every night. The Fogg family has had its share of bumps and rattles in its travel down the road of life, but I believe we are richer for the journey and I hope she does too.

2012 can't get here fast enough. I believe in 2012. I believe it's going to be a big year. As I said on Facebook recently, I expect big things from 2012, so expect big things from me.

Loren's and my podcast is going strong. Spinning out of that podcast is a new podcast which Dean Trippe and I are currently planning and trying to iron the logistics out on. Season 1 of The Ruffians went well and I'm trying to figure out what a season 2 might hold . . . You Being You also hasn't gone away, despite there not being a new video in some time. I'm still looking for subjects and if you know someone (or are someone) who you think has something to share, drop me a line! I'm also in production on a children's book, which we will be shopping around (I'm guessing) in early 2012. I'd love to see that in book stores.

I've grown weary of the world's negativity and cynicism. I'm currently outlining a story that I would like to use to combat some of that negativity. Only problem with this story is I need a comic book artist to help me see it into fruition. Expect to see me on the lookout for one of those in the near future.

Sigh. I should probably go to bed. But Michael Giacchino's exquisite score for Up is only half-finished and I haven't the heart to turn it off. I'll see it through to the end and see how I feel then.

Three days before we shoot episode 3, I thought I'd sit down and explain why I'm telling The Ruffians' story. But I'm not interested in releasing this information right away, so I'm post-dating this blog entry to be released on my 31st birthday.

Most people know me as a giant dork. That's the aura that surrounds me. It doesn't take long, though, to cut through the layers of Doctor Who and Superman to discover what makes me tick. The people who know me best know me as a left-leaning Christian who belongs to the Seventh-Day Adventist Church who has found his calling as a writer. Any time I sit down and write something, it comes from a place of deep moral responsibility to our fellow man and our Creator. Which is why, on the surface, The Ruffians has some people scratching their heads.

Very simply put, The Ruffians comes from the same place Remnants, Nighthawks, Berashet, and Martyrs came from. But while each of those had elements of hope and beauty intertwined with them, The Ruffians is my view of the world, my view of society, as it tries to distance itself from God.

Before we even get to the characters themselves, it's a show about hitmen -- people who are paid to kill other people. The hitman has been glamorized in a multitude of television shows and movies, but I couldn't think of a more perfect metaphor for the toxicity and selfishness of man.

My characterization starts with SOFIA TOWNSEND, as played by Rachel Komorowski. Sofia doesn't want any responsibility. She wants to show up, do her work, and go home. The less she knows, the less she can be held accountable for. In trying to compartmentalize her life, she seeks ways to excuse herself from the bigger picture.

ALEXANDER GREENE, as played by Corey Newmyer, is the post-modern man. He, like Sofia, doesn't want to be held accountable for his actions. He is beholden unto no-one but himself. But he has this nagging voice in the back of his head telling him that he's wrong, or that something in his life is wrong (personified by Tenika Dye). And he doesn't like that. He wants to silence that voice, so he labels it and mocks it, which allows him to distance himself. Doing this, however, creates a void in his life that he has to fill. He refuses to feel guilty for his actions, and so he places a higher premium on his friendships and his relationships. If he's going to feel guilt, it needs to be over something tangible and important to him, not something moral, metaphysical, and intangible. This will continue to haunt him for some time.

It's easy to call CHARLIE HAMMOND an idiot. That's very nearly how I play him. But he represents society's desire to live in (and only for) this moment. He quickly forgets yesterday (and the lessons learned) and he doesn't think or worry about tomorrow. He doesn't stop to wonder if what he's doing is going to harm him or his friends later. He's exceptionally short-sighted, which often makes him look uncaring. He's deeply emotional and has a fairly sanguine temperament. Every single minute of every single day is either the very best thing or the very worst thing that could possibly be happening. He lives as if there is no tomorrow, as if there are no consequences and when tomorrow rolls around and those consequences show up, he doesn't understand why these things are happening to him.

Rick Hardaway plays JACOB WALLACE. At one point I toyed with making him the personification of Atheism, a cruel and unforgiving creation that boasts freedom and free will, but as the story unfolded, I found him a far more compelling devil than anything else. He lets our "heroes" believe what they want, for it suits his purpose.

The other characters and the victims live in this same world. But less time was put into their being. They are intended to reflect, magnify, or contrast the mindsets and philosophies of Charlie, Alexander, and Sofia.

MARLENA, specifically, was created to illustrate the continuity of time and the consequence of actions. While Charlie lives his existential life, Marlena exists slightly above that. She's first introduced as an idea. We simply hear she exists. She exists before the show began. Then we see Charlie calling her. Then finally, he's reunited with her. Marlena unifies Charlie's existence and makes yesterday as important as today and tomorrow. His belief in her is the closest thing to a spiritual life Charlie has. Her existence makes "the sherpa" moot and vapid. It is (and will be) Marlena that is most directly effected by Charlie's short-sightedness. She's making the most of her life, but deep down, she knows that it's all for naught. Their victory over Jacob Wallace will be short-lived and temporary at best.

And that's all I have to say about that.

Except not really. I love conversations on these topics, so drop me a line or pull me aside. I'd love to hear what you think.

Coming soon to a theater/DVD player/Blu-Ray player/digital file format player near you: SPARKS! They seem to have become the poster creator's favorite new element. Sometimes it makes sense, but most of the time it looks like they're trying to make us think we're about to step into the sequel for Backdraft that never was.

Drive Angry? Okay. Nicolas Cage is try to escape Hell, so one should expect a certain firey element there. Transformers? Um . . . sure. There's a lot of metal grinding on metal in that movie, so I'm sure there's going to be some sparking. But The Dark Knight? "Maybe it's symbolic of the impending doom and chaos that's about to engulf Gotham?" "Yes! Use it for Harry Potter, too! Just switch 'Gotham' for 'Hogwarts!'"

But one can only assume that there's a scene in the new Conan movie where Conan the Barbarian literally tries to put out a fire with his sword.

Considering my extensive relationship with the iTunes Store and after reading the Steve Jobs biography, it's very surreal to be able to find me in the iTunes Store. Yet, there I am. For all the world to hear.

It's Movies You Should Love, a podcast that frequent partner-in-crime Loren Small and I cooked up and have been recording for the past couple of months. Loren built a gorgeous site for it, with me contributing the title aesthetic and the faces by John J Salomone (who you can commission to pixelate your face).

Basically Loren and I sit down and examine classic films (specifically AFI's Top 100 list) and try to figure out what makes them so special. It's something we do anyway, often staying up into the wee hours -- we thought we might as well record it and share it with the world. We're definitely enjoying ourselves and we really hope others do, too.